Auditions and Placement Exams

Call the Music Office at 415-338-1431 one month prior to Academic Advising Day to sign up for auditions and placement tests.

Scholarship Auditions may have different dates. Please see our Upcoming Audition Dates for specifics.

Theory and Ear Training Placement Exams

All entering students must take placement examinations in Theory / Ear Training, and Class Piano, as well as an audition on their choice of a major instrument / voice. (Failure to qualify for major instruction on any instrument / voice suggests some question as to the appropriateness of a music major. If this is the case, you should discuss the matter with the appropriate adviser.)

About the Placement Exams

The first portion of the theory placement exam (the part referred to as MUS 130) also includes elementary ear training. There is a separate exam for higher levels of ear training. In addition, all students are required to take a piano proficiency placement exam.

While the exam is in a progressive format, it is possible to skip the counterpoint portion of the exam (the part for MUS 231) and still take the harmony portions (MUS 232 and MUS 233).

The placement exam varies from term to term and may not be exactly as described below. Check on the SFSU Music Department web site at http://www.sfsu.edu/~music/audition.htm for a more general, but always up-to-date description of course requirements.

TO PASS OUT OF MUS 130 (remedial theory and ear training), you must demonstrate a thorough knowledge of:

• Reading in treble and bass clefs;
• Major and all forms of minor scales;
• Modal scales (Dorian, Phrygian, Lydian, Mixolydian);
• Major and minor key signatures;
• Intervals, including chromatic variations (dim 3, aug 2, aug 5, etc.), compound intervals, and interval inversions;
• Triads of all qualities and inversions;
• Seventh chords in all qualities and inversions; and
• Transposing a chromatic melody into another key.

• Interval identification (within one octave);
• Rhythmic dictation in X-4 and X-8 meters; and
• Simple tonal dictation in one part.

TO PASS OUT OF MUS 231 (Counterpoint), you must demonstrate an ability to either:

• Complete an exposition of a Baroque three-part invention, or
• Write two lines of mixed-species counterpoint against a modal cantus firmus (16th Century style, no text); or
• Write a single line of fifth species counterpoint against a tonal cantus firmus (18th Century Style, using species rules).

TO PASS OUT OF MUS 232 (Tonal Harmony) you must demonstrate an ability to both:

• Harmonize a non-chromatic melody in Baroque-style choral writing, creating a stylistically correct chord progression and writing the lower three voices, including a variety of non-harmonic tones; and
• Harmonize a Classical melody with a keyboard accompaniment (style of Mozart, Haydn, Clementi, etc.), which modulates to a closely related key.

TO PASS OUT OF MUS 233 (Chromatic Harmony) you must demonstrate an ability to both:

• Realize and analyze a chromatic figured bass in Baroque-style choral writing. The figures may imply the following: diminished seventh chords, all forms of augmented sixth chords, the Neapolitan, chromatic and/or enharmonic modulation; and
• Harmonize a Romantic melody with a keyboard accompaniment (style of Brahms, Schumann, Liszt, etc.) which modulates to a distantly related key and implies chromatic harmony.

TO PASS OUT OF MUS 420 (Twentieth-Century Techniques) you must demonstrate an ability to analyze and/or complete short pieces that include the techniques listed below. This is a separate exam, given on an individual basis on a day following the primary theory exam.

• 20th-Century modality (ex: Debussy Preludes)
• Polytonality (ex: Milhaud Saudads do Brazil)
• Other forms of tonal centricity, including:

• Pitch-class sets (ex: Berg Four Pieces for Clarinet and Piano)
• Twelve-tone rows (ex: Schoenberg Klavierstuck Op. 33a)
• Interval groupings (ex: E. Carter String Quartet No. 2)
• Rhythmic concepts:

Theory and Musicianship Class Sequence

The San Francisco State University lower division music program contains a four-semester sequence of written and analytical theory (Music 231, 232, 233, 420) and a three-semester sequence of ear training and musicianship (Music 221, 222, 223). Students are required to take, in succession, 221 with 231, 222 with 232, and 223 with 233 (unless otherwise advised after the placement exam). Successful completion of the courses detailed below, or the demonstrated equivalent, satisfies the lower-division requirements in theory.

Music 231 - Contrapuntal Analysis and Synthesis (3)
Prerequisites: Knowledge of scales, key signatures, intervals, triads, ability to read treble and bass clefs. Concurrent enrollment required in MUS 221 and Class Piano. A study of contrapuntal form and procedures through written exercises, analysis, and composition in two to four parts based upon representative examples from the literature.

Music 232 - Diatonic Analysis and Synthesis (3)
Prerequisites: MUS 231. Concurrent enrollment required in MUS 222 and Class Piano. A study of common practice harmonic and formal procedures through written exercises, analysis, and composition, including triads, inversions, cadences, seventh chords, binary, ternary, and rondo forms based upon representative examples from the literature.

Music 233 - Chromatic Analysis and Synthesis (3)
Prerequisites: MUS 232. Concurrent enrollment required in MUS 223 and Class Piano. Continuation of harmonic/formal studies of procedures found in chromatic music through written exercises, analysis, and composition, including secondary dominants, modulation, altered chords, theme and variations, and sonata forms based upon examples from the literature.

Music 420 - 20th Century Techniques (3)
Prerequisites: MUS 233. Analysis of compositional procedures and musical structures through studies in aural perception, historical perspective, score reading, and composition. Emphasis on 20th-century western concert music with parallel review of musical genres from nonwestern styles and cultures.

Music 221 - Fundamentals of Ear Training and Musicianship I (2)
Prerequisites: knowledge of written scales, key signatures, rhythms, intervals, and triads; ability to sing scales. Concurrent enrollment advised in MUS 231 and Class Piano. Ear training and sight singing. Melodic, rhythmic, and harmonic dictation. Laboratory, involving individual and group instruction and participation.

Music 222 - Fundamentals of Ear Training and Musicianship II (2)
Prerequisite: MUS 221 or equivalent. Concurrent enrollment advised in MUS 232 and Class Piano. Continuation of MUS 221.

Music 223 - Fundamentals of Ear Training and Musicianship III (2)
Prerequisite: MUS 222 or equivalent. Concurrent enrollment advised in MUS 233 and Class Piano. Continuation of MUS 222.

Piano Placement Exam

All music students, except those who are performance majors in piano or music education students with piano as their primary instrument, must take an examination for placement in class piano. There are a total of five levels, but not all emphases require all five levels, so please check the requirements for your emphasis for the level of attainment you must complete. For your entrance audition, which will determine your first class piano placement, you will be asked to demonstrate your abilities in the following areas:

1. Scales: major and harmonic minor, ascending and descending, two octaves hands together with the correct fingering;
2. Sight-reading; and
3. Knowledge of the Roman numeral chord symbols. A melody will be provided with the chord symbols and students will be asked to play the melody with the right hand and chords with the left hand. Based on how well students do this, they may be asked to break the chords into accompaniment patterns and transpose the melody and chords into other keys.

AUDITIONS

Bachelor of Music*

* For Bachelor of Arts in Jazz and World Music audition requirements, see below

Based on this audition, the student will temporarily be placed into voice or instrument instruction courses and degree programs appropriate to the student's goals and abilities. A permanent placement will not occur until after the student's first end-of-the-semester jury.

Piano Performance:

• Three-part invention by J.S. Bach
• A first movement from a sonata by Haydn, Mozart or Beethoven (Op. 49 excluded)
• A romantic or contemporary work at the level of Bartók, Mikrokosmos, Vol. 5.
• In addition: all major and minor scales, hands together, four octaves.
• A sightreading test may be given at the discretion of the auditioning faculty members.

Music Education, History/Literature, or Theory/Composition with piano as the principal instrument:

• Two-part invention by J.S. Bach
• A sonatina by Clementi, Kuhlau, or Beethoven
• A romantic or contemporary work at the level of Bartók, Mikrokosmos, Vol. 3.
• In addition: all major and minor scales, hands together, two octaves.
• Sightreading test may be given at the discretion of the auditioning faculty members.

Voice:

The student should bring music for two or three pieces. An accompanist will be provided. The student should sing the pieces which best show his/her voice, musicianship, communication, and personality. The student may be asked to explain the meaning of a song and/or to sight-sing a simple piece.

If a student has studied private or studio voice before, s/he should bring a list of the pieces s/he has sung and performed. This information will help the voice faculty to evaluate the level of entrance into the vocal program.

Approval for entrance into Music 313 (Major Voice) will be determined by the ability to express oneself musical and textually with even voice through a simple art song in English. Priority for lessons is given to voice majors (B.M., B.M. Ed.), then to B.A., voice minors, and non-voice music majors.

 

Percussion:

Percussionists should audition on two or three instruments, which may vary slightly from this list:

Timpani: One or two etudes and an excerpt from an orchestral work. Be prepared to tune several intervals from a given pitch.

Snare: One etude and one excerpt. The committee will ask for a demonstration of one or more rudiments.

Mallets instrument of your choice: One or two etudes, major scales up and down two octaves.

We will provide instruments but not sticks, mallets, etc. You are also welcome to bring you own instruments if you wish.

 

Other Instruments:

The student will be required to demonstrate his/her capacity as a performer and his/her knowledge of the literature for the chosen instrument. The audition should consist of two etudes, scales, and a portion of a major work.

Jazz and World Music Auditions

Students may audition solo or with accompaniment. Accompanists will be provided, but students may also bring taped accompaniment.

Voice:

• Prepared selection: any selection that best demonstrates vocal range and ability

Saxophone, Trumpet, Trombone:

• Scales and/or broken chords (arpeggios): 2 major scales and the chromatic scale, range of the instrument if possible; staccato and slurred; basic chords (major, minor, augmented, diminished)
• Etude or solo transcription: any excerpt from the jazz idiom that best demonstrates basic knowledge of jazz articulation
• Prepared selection: any standard from the jazz idiom
• Sight reading: will be provided
• Improvisation: any standard melody; improvise for 2 choruses

Bass (Acoustic and Electric):

• Scales and/or broken chords (arpeggios): 2 major scales and the chromatic scale, range of the instrument if possible; basic chords (major, minor, augmented, diminished) with 6ths, 7ths, 9ths & 13ths
• Etude or solo transcription: any excerpt from the jazz idiom that best demonstrates basic knowledge of jazz articulation
• Prepared selection: any standard from the jazz idiom
• Sight reading: chord symbol and standard notation from lead sheet and/or bass part will be provided
• Improvisation: any standard melody; improvise for 2 choruses

Piano & Guitar:

• Scales and/or chords: 2 major scales and the chromatic scale, range of the instrument if possible; demonstrate basic chord voicings (major, minor, augmented, diminished) with 6ths, 7ths, 9ths & 13ths
• Etude or solo transcription: any excerpt from the jazz idiom that best demonstrates basic knowledge of jazz articulation
• Prepared selection: any standard from the jazz idiom
• Sight reading: chord symbol and standard notation from lead sheet and/or piano/guitar part will be provided
• Improvisation: any standard with melody and chords (if possible); improvise for 2 choruses

Drum Set:

• Students should bring their own sticks, brushes, and mallets
• Play time: slow, medium, fast
• Demonstrate time in jazz, rock, waltz, Latin, ballad, and brushes
• Solo (improvisation) in different styles -- jazz, rock, waltz, Latin -- in all tempi
• Demonstrate jazz time for 4 measures, solo break for 4 measures; repeat in different styles: Latin, rock, waltz
• Sight reading: materials to be supplied

Back to the Department of Music home page